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Joep Leerssen WORKING PAPERS EUROPEAN STUDIES AMSTERDAM 10 Joep Leerssen A Commodious Vicus of Recirculation: Irish Anthologies and Literary History Opleiding Europese Studies, Universiteit van Amsterdam 2010 Joep Leerssen is professor of Modern European Literature at the University of Amsterdam and Royal Netherlands Academy of Arts and Sciences Professor. This is the expanded text of the Parnell Lecture delivered at Magdalene College, Cambridge, in January 2009 © the author, 2010 ISSN 1871-1693 Working Papers European Studies Amsterdam is a series of incidental publications by staff members, associates and collaborators of the Department of European Studies at the University of Amsterdam. Printed texts in brochure format can be obtained (free of charge for individuals) from the Secretariat, European Studies, Universiteit van Amsterdam, Spuistraat 134, 1012 VB Amsterdam, Netherlands; e-mail [email protected] The texts can be downloaded in PDF format from www.hum.uva.nl/europesestudies > Research > Working Papers A COMMODIOUS VICUS OF RECIRCULATION: IRISH ANTHOLOGIES AND LITERARY HISTORY Joep Leerssen The writing of literary history emerged in the course of the eighteenth century. It was based partly on the model of antiquarianism, dealing with vernacular balladry, romance and other remains that stood outside the time-hallowed (and in a sense timeless) canon of Biblical and Classical texts; partly it drew on the genre of poets’ biographies, which in turn followed, ultimately, the template laid down by Vasari. Samuel Johnson’s Lives of the Poets is, in a way, a spin-off of Vasari’s Lives of the Painters. These two source traditions determined two deep-seated assumptions in literary historiography: that the development of literary history was part of a process of unfolding modernity, and that this process was driven by the personality of the author. I use ‘modernity’ here, not in a sociological sense, but as the notion, vindicated in the Battle of Ancients and Moderns, that art and civility are not timelessly determined categories fixed by the example of Biblical and Classical antiquity, but that they are developing processes with an intergenerational dynamics and with shifting and developing standards from one century to another. This anti-classicist, dynamic view of art (including literature) as practices predicated, not only on regularity but also on innovation, became dominant in the climate of the Enlightenment, and indeed survived the Enlightenment in that it was also adopted in Romanticism. Vasari’s widely influential celebration of the painters, sculptors and architects of the Italian Renaissance as heroic innovators, each new generation learning from, and surpassing, their predecessors, fed into this innovatory paradigm; that view was further strengthened by the Romantics’ image of the artist and poet as a Promethean, Faustian, questing spirit, always extending the boundaries of received experience. 4 It is in the context of this outlook that literary historiography emerged in the decades between 1780 and 1840 – between Johnson’s Lives of the English Poets (1779-1781) and Warton’s History of English Poetry (1774-1781) on the one hand, and Gervinus’s Geschichte der poetischen National-Literatur der Deutschen (1835-1842) on the other. Literary history, one might say, emerged on the basis of a fundamental assumption that literature is not timeless, is anything but timeless.1 Another deep-seated assumption in literary history-writing is that a literary corpus is properly defined by the language of its expression. The idea that language forms the primary category of human culture (and not, for instance, religion, gender, class or race) was, again, a product of the decades between the late Enlightenment and early Romanticism. It had been advanced most notably by Herder, who, in debates on the origin of language, insisted that the most salient quality of human language was its capacity for diversity and diversification. The generation of Wilhelm von Humboldt and Jacob Grimm intensified Herder’s linguistic and cultural relativism into a comparative-anthropological notion that a language constitutes the cognitive operating system of an individual or nation. The ‘native language’ (intergenerationally transmitted in the most intimate parent- child bonding of early infancy) thus establishes language-specificity as a category as fundamental as the distinction between, say, an engine running on electricity, diesel or petrol, or a computer running under Windows, MacOS or Linux.2 By extention, literature was seen as deeply and substantially determined by its language, relating to it as the flower does to the root of a plant. In the new university system (as devised around 1810 by Humboldt), philology was institutionalized as the joint study of that Siamese twin, Lang and Lit. Literature thus acquired a nationality (linguistically determined) at the same time that it acquired a historicity, and most literary history-writing followed a philological model of national historicism.3 1Cf. generally René Wellek, The Rise of English Literary History (Chapel Hill: University of North Carolina Press, 1941), and A History of Modern Criticism: 1750-1950 (8 vols; London: Cape, 1961-1992); Bernd Witte, ‘La naissance de l’histoire littéraire dans l’esprit de la révolution. Le discours esthétique chez Schlegel, Hegel, Gervinus et Rosencranz’, in Philologiques I: Contribution à l’histoire des disciplines littéraires en France et en Allemagne au XIXe siècle, ed. M. Espagne & M. Werner (Paris: Maison des sciences de l’homme, 1990), 69-87. 2Pierre Caussat et al. (eds.), La langue source de la nation. Messianismes séculiers en Europe centrale et orientale (du XVIIIe au XXe siècle) (Sprimont: Mardaga, 1996). 3This has been discussed more fully in my ‘Literary history, cultural identity, and tradition’, in Comparative Literature now: Theories and practice / La Litterature comparee à l'heure actuelle. Théories et réalisations, ed. S. Tötösy de Zepetnek, M.V. Dimic & I. Sywenky (Paris: Champion, 1999), 389-397; ‘Literary Historicism: Romanticism, 5 In recent decades, the limitations of both the national and the historicist paradigm have been sternly exposed. What, it has been asked, do Chaucer and Pinter have in common, or Boccaccio and D’Annunzio, that should outweigh the links and similarities between Chaucer and Boccaccio? Does the ‘English’ in the phrase ‘English literature’ refer to a language or a country? The question is nugatory for authors who belong to both categories, language and country (Shakespeare, Benson, Hardy), but more troublesome for Walt Whitman, Hugh MacDiarmaid and Seamus Heaney (who belong to one category but reject the other), and most troublesome perhaps for those authors who move between those categories and do not seem to acknowledge their divergence (Walter Scott, Henry James, W.B. Yeats).1 Irish literature, as a corpus and as a tradition, poses a standing challenge to the national historicism that is so deeply embedded in the craft of literary historiography. Written in three languages (Latin, Gaelic and English) over turbulent centuries of constitutional uncertainty and strife, it has traditionally placed the literary historian into that predicament whimsically phrased in the doggerel verse of William Allingham: An Englishman has a country A Scotchman has two An Irishman has none at all And doesn’t know what to do. A daring and in many ways triumphant attempt to break through this paralysing uncertainty has been made recently by the Cambridge History of Irish Literature (CHIL), which unites chapters on the various languages of Ireland, the literary traditions (oral and written) in those languages, and their interaction. Yet even it follows the implicit assumptions of literary historiography: although the category of nationality is here allowed to accommodate different languages and different constitutional loyalties, it is still seen as the primary one. Joint ‘Irishness’ is the Philologists, and the Presence of the Past’, Modern Language Quarterly, 65 #2 (2004): 221- 243, and ‘Philology and the European Construction of National Literatures’, in Editing the Nation’s Memory: Textual Scholarship and Nation-building in 19th-century Europe, ed. D. Van Hulle & J. Leerssen (Amsterdam: Rodopi, 2008), 13-27. 1Early problematizations of the language-based taxonomy of literary traditions were raised by the case of Belgium and led to the idea of littératures secondes (cf. Hugo Dyserinck, Komparatistik; Eine Einführing 3rd ed. Bonn: Bouvier, 1991, 94-5). For the more recent idea of literature as a ‘polysystem’, involving multiple overlapping subdivisions, some of which are linguistically determined, others by different constituencies, cf. Itamar Even- Zohar, ‘Polysystem Theory’, Poetics Today, 1 (1979): 287-310. 6 one category that links the various authors and texts together, and the structure of the volumes chronologically traces the progress of the literary preoccupation with, or expression of, Irishness across the centuries. CHIL as a whole is a demonstration that the case of Irish literature can be encompassed within the assumptions, scope and working principles of literary historiography.1 Production-oriented Literary History (PLAI) and Irish Perplexities The traditional mode of literary historiography is, then, a genetic history of literary production, with language as the main category for the constitution of the text corpus, authorship as its the main organizing principle, and innovation as the main driving force. For many literary traditions
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